programming with max/msp - Virtual Sound

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LEARNING AGENDA 2P PREREQUISITES FOR THE CHAPTER • Contents of Chapter 1 (theory and praCtiCe), Chapter 2 (theory), interlude a LEARNING OBJECTIVES SkillS • to learn how to synthesize a Complex sound from simple sine waves • to learn how to synthesize harmoniC and non-harmoniC sounds using additive synthesis and wavetables, and to transform one into the other (and viCe versa) by using amplitude and frequenCy Control • to learn how to implement triangle waves, square waves, and sawtooth waves approximately by adding Component harmoniC sine waves together • to learn how to Control beats between two sine waves or harmoniCs • to learn how to synthesize sounds using veCtor synthesis CompetenCe • to suCCessfully realize a sound study based on additive synthesis and save it to an audio file CONTENTS • additive synthesis using both fixed and variable speCtra • harmoniC and non-harmoniC sounds • phase and beats • interpolation • veCtor synthesis ACTIVITIES • CorreCting algorithms • Completing algorithms • replaCing parts of algorithms • analyzing algorithms TESTING • integrated Cross-funCtional projeCt: reverse engineering • integrated Cross-funCtional projeCt: Composing a brief sound study SUPPORTING MATERIALS • list of prinCipal max/msp Commands • list of max/msp objeCts • Commands, attributes, and parameters for speCifiC max/msp objeCts • glossary from “Electronic Music and Sound Design” Vol. 1 by Alessandro Cipriani and Maurizio Giri © ConTempoNet 2010 - All rights reserved
Chapter 2P - Additive and vector synthesis 2.1 FIXED SPECTRUM ADDITIVE SYNTHESIS To start things off, let’s create a patch for producing harmonic sounds in Max/MSP using additive synthesis, with Figure 2.12 of the theory chapter as our implementation guide. The diagram in that figure shows 10 oscillators, all summed using a mixer, and so we will begin with 10 cycle~ objects that will furnish the 10 sine waves, each producing a frequency which is an integer multiple of the fundamental (in order to be harmonic). To calculate the frequency values needed, we will simply multiply the frequency of the fundamental by the first 10 integers. The resulting patch is shown in Figure 2.1 (02_01_additive.maxpat). Fig. 2.1 The file 02_01_additive.maxpat The number box at the top of the patch is used to set the fundamental frequency for the entire patch, which is then passed to the 9 * operators using successive integers to produce harmonic frequencies that are multiples of the fundamental. The frequency of the fundamental and of the frequencies being produced by these multipliers can be viewed in the 10 number boxes below, which are themselves connected to as many cycle~ objects. These, in turn, are connected to signal multipliers (*~) that rescale their outputs. Normally the amplitude of a signal produced by cycle~ will have a peak value of 1, and for this reason the value given to each multiplier serves to directly reflect the relative amplitude of each harmonic (for example, 1.0 ∙ 0.5 = 0.5). The signal multipliers enable each harmonic to have its own distinct amplitude, determined by the value fed into its multiplier. Given that we have 10 oscillators, 10 values completely specify the amplitudes to be used. from “Electronic Music and Sound Design” Vol. 1 by Alessandro Cipriani and Maurizio Giri © ConTempoNet 2010 - All rights reserved 1T 233
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Alessandro Cipriani • Maurizio Gi
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Alessandro Cipriani • Maurizio Gi
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CONTENTS Foreword by David Zicarell
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Electronic Music and Sound Design -
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LEARNING AGENDA 1T PREREQUISITES FO
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1.1 4 Theory sound or sounds that w
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1.1 6 Theory ��
Page 23 and 24: 1.2 8 Theory Let’s look at a tabl
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Page 27 and 28: 1.2 12 Theory By the same reasoning
Page 29 and 30: 1.2 14 Theory If the amplitude of a
Page 31 and 32: 1.2 16 Theory 8 140 the threshold o
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Page 53 and 54: 1.2 68 Practice Paragraph 1.2 - Fre
Page 55 and 56: Interlude A PROGRAMMING WITH MAX/MS
Page 57 and 58: Interlude A - Programming with Max/
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Page 67 and 68: Chapter 2T - Additive and vector sy
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Page 93 and 94: 3.1 358 Practice Make sure to try s
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Page 107 and 108: 4.2 474 Theory In the example, the
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Page 115 and 116: REFERENCES The decision was made to
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